10/11/2020
When watching the different cinematographs, I noticed that the most effective ones are ones where the moving element is a small part of the image, especially in shots that are detailed. This made me think back to my childhood when I thought I’d see things move at the corner of my eyes and believed that the objects in my house were alive. I’d notice, especially in rooms with a lot of objects, that one small thing like a doll or the vase of flowers would move. I thought that this idea would make for interesting cinematographs.
I began to dig deeper in my childhood fear and possible things in my life that could have influenced it. I knew that growing up in Thailand, a country that’s saturated in Buddhist and Chinese culture, I’ve seen from a very young age the significance and meaning projected onto different objects such as dolls and sculptures and necklaces. Even in Thai media, objects such as necklaces with monk pendants were shown to ward of ghosts and spirits. Every big company and establishment would have a small resting place for the guardian spirit who owns the land and they’d be given food and drinks.
Growing up in this culture had instilled this thinking in me that inanimate objects had thoughts and were alive. This made me worried whenever I mishandled my toys or abandoned them for new ones, thinking that they were crossed with me. Perhaps that was why I kept thinking I could see them move.
I made a mind map on padlet breaking down my ideas and expanding them.
⇦ VFX